ākṣiptaka - concept

definition

p.vol_II_p138

sanskrit

conf 0.95

Ākṣiptikā is defined as musical phrases constructed with metrical and tonal elements arranged according to three modes

"चच्चत्पुटादितालेन मार्गत्रयविभूपिता। आक्षिप्तिका स्वरपदग्रथिता कथिता बुधैः"

1. ***** 258 BRHADDEŚĨ 38. Reconstuction based on the reading found in all subsequent rāgas. 39. P.t. breaks here. Ākṣiptikā is thus defined in SR चच्चत्पुटादितालेन मार्गत्रयविभूपिता। आक्षिप्तिका स्वरपदग्रथिता कथिता बुधैः ॥ SR II.2.25 cd, 26 ab. स्वरपदग्रधिता, पड्ज?ादिस्वरोपेतैः पदैः पदार्थवाचकैः शब्दैग्रंथिता रचिता पदतालाद्याक्षिप्तत्वादाक्षिप्तिकेत्यर्था । वुधैर्मतङ्गादिभिः कथिता । Kalā on ibid, p. 22. 40. P.t. breaks here. The following extracts would be pertinent - मध्यमापञ्चमीज?ात्योः सम्भूतः शुद्धपञ्चमः । अंशोऽस्य पञ्चमो न्यासः स्वल्पद्विश्रुतिकस्वरः॥ BhaKo, p. 666, ascribed to Kaśyapa. यदि पञ्चमो विरमते गान्धारधान्तरस्वरो भवति । ऋपभो निपादसहितस्तं पञ्चममीदृशं विद्यात् ॥ Nā Śi 1.4.6. मध्यमापञ्चमीज?ातः काकल्यन्तरसंयुतः ॥ पञ्चमांशग्रहन्यासो मध्यसप्तकपञ्चमः। इष्यकामूर्च्छनोपेतो ज?्ञेयः कामादिदैवतः ॥ चारुसञ्चारिवर्णश्च ग्रीप्मेऽहः प्रहरेऽग्रिमे । शृङ्गारहास्ययोः सन्धाववमर्शे प्रयुज?्यते ॥ SR.II.2. 148c-150. 41. Reconstruction based on the succeeding prose portion, where the omission of ṛṣabha and pañcama is prescribed. 42. The 'jātyoḥ' of p.t. could be taken to be the dual number of the genitive or locative case, though locative would be more appropriate according to the context. We have changed it to the dual number of the ablative case which was felt to be more idiomatic, but the locative case is not misplaced. 43. This sentence has been cited by Kallinātha in Kalā on SR II. 2.30- 32, p. 29 for refuting the opinion that the rāga śuddhakaiśikamadhyama belongs to two grāmas. 44. cf. पड्ज?ांशो मध्यमन्यासः कैशिकीज?ातिसम्भवः। तथा कार्मारवीज?ातः सम्पूर्ण इति कैशिकः ॥ BhaKo p. 149, ascribed to Matanga. 45. ' Pañcamo nyāsaḥ 'of p.t. has been changed to pañcamanyāsaḥ in order to make a compound matching ' ṣadjāmśaḥ '.

definition

p.vol_II_p138

sanskrit

conf 0.90

[show source]

Ākṣiptikā is constructed from words denoting semantic meaning combined with tonal notes beginning with pada

"स्वरपदग्रधिता, पड्ज?ादिस्वरोपेतैः पदैः पदार्थवाचकैः शब्दैग्रंथिता रचिता"

1. ***** 258 BRHADDEŚĨ 38. Reconstuction based on the reading found in all subsequent rāgas. 39. P.t. breaks here. Ākṣiptikā is thus defined in SR चच्चत्पुटादितालेन मार्गत्रयविभूपिता। आक्षिप्तिका स्वरपदग्रथिता कथिता बुधैः ॥ SR II.2.25 cd, 26 ab. स्वरपदग्रधिता, पड्ज?ादिस्वरोपेतैः पदैः पदार्थवाचकैः शब्दैग्रंथिता रचिता पदतालाद्याक्षिप्तत्वादाक्षिप्तिकेत्यर्था । वुधैर्मतङ्गादिभिः कथिता । Kalā on ibid, p. 22. 40. P.t. breaks here. The following extracts would be pertinent - मध्यमापञ्चमीज?ात्योः सम्भूतः शुद्धपञ्चमः । अंशोऽस्य पञ्चमो न्यासः स्वल्पद्विश्रुतिकस्वरः॥ BhaKo, p. 666, ascribed to Kaśyapa. यदि पञ्चमो विरमते गान्धारधान्तरस्वरो भवति । ऋपभो निपादसहितस्तं पञ्चममीदृशं विद्यात् ॥ Nā Śi 1.4.6. मध्यमापञ्चमीज?ातः काकल्यन्तरसंयुतः ॥ पञ्चमांशग्रहन्यासो मध्यसप्तकपञ्चमः। इष्यकामूर्च्छनोपेतो ज?्ञेयः कामादिदैवतः ॥ चारुसञ्चारिवर्णश्च ग्रीप्मेऽहः प्रहरेऽग्रिमे । शृङ्गारहास्ययोः सन्धाववमर्शे प्रयुज?्यते ॥ SR.II.2. 148c-150. 41. Reconstruction based on the succeeding prose portion, where the omission of ṛṣabha and pañcama is prescribed. 42. The 'jātyoḥ' of p.t. could be taken to be the dual number of the genitive or locative case, though locative would be more appropriate according to the context. We have changed it to the dual number of the ablative case which was felt to be more idiomatic, but the locative case is not misplaced. 43. This sentence has been cited by Kallinātha in Kalā on SR II. 2.30- 32, p. 29 for refuting the opinion that the rāga śuddhakaiśikamadhyama belongs to two grāmas. 44. cf. पड्ज?ांशो मध्यमन्यासः कैशिकीज?ातिसम्भवः। तथा कार्मारवीज?ातः सम्पूर्ण इति कैशिकः ॥ BhaKo p. 149, ascribed to Matanga. 45. ' Pañcamo nyāsaḥ 'of p.t. has been changed to pañcamanyāsaḥ in order to make a compound matching ' ṣadjāmśaḥ '.

relation

p.vol_I_p103

english

conf 0.90

[show source]

The gradual increase in the duration of phrases from one to six kalās is implied, like ākṣiptaka

"The gradual increase in the duration of each phrase seems to be prescribed, like ākṣiptaka.( see note 67 above )"

VIMARŚA 189 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that whatever pattern is established in an alaṅkāra it should be followed all-through. If varna is taken to stand for syllabic unit, then the conflict and its prohibition become clear. 118. Using an alaṅkāra without a varņa ( melodic movement ) is a contradiction in itself; here also, as above (note 117) the idea seems to be that an alaṅkāra should not be used without establishing a definite pattern. Here varna as a syllabic unit does not seem to be relevant. 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alaṅkāra in relation to varna (the syllabic unit) have been figuratively spoken of as—(i) the alaṅkāra makes the varņa bright or brilliant ( like the moon ), (ii) it 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom (like a flower on a creeper) and (iv) it makes the varna colourful or delightful (like an ornament on a woman). 120. It is notable that all illustrations begin with sadja and do not extend beyond the tāra şadja. 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. Section VII ( Pada-giti ) 1,2,3. Giti literally means song or the act of singing, but here it stands for specific pattern of singing with reference to the text of the song as manifest in its syllabic units (akşara) and metre (chandas). NŠ mentions only these four gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to distinguish between these two types of gitis, the first type being related to the rendering of text and the second type being related to the rendering of raga, we have qualified the gitis under reference with pada, and the gitis of raga classification will be qualified with svara or raga. 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means descent (of svaras); here it means repetition. 5. Nivitta lit. means receded or held back as opposed to pravitta meaning proceeded or set forth. Here it means accomplished or completed. 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system which represent three 'degrees' of length of a given tāla-cycle, depending on the duration of kalā or standard time-unit, as follows - Duration of kalā Name of marga 2 mātrās 1. Citra 4 mātrās 2. Vārtika or vṛtti 8 mātrās 3. Daksina 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three T 1

structural

p.vol_I_p059

english

conf 0.95

[show source]

Ākṣiptaka is formed with the measure of kalās starting with one-kalā-unit up to six-kalā-unit with three svaras in the ascending order in each phrase

"Aksiptaka (is formed) with the measure of kalās (time-units) starting with one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the ascending order (in each phrase)."

101 TRANSLATION remaining svaras, udghațțita is composed of eighteen kalās (phrases). As - sarimapa pamarisa, rigapadha dhapagari, gamadhani nidhamaga, mapanisu 66 sanipama, padhanisa; sanipama mapanisa, nidhamaga gamadhani, dhapagari rigamadha, pamarisa sarimapa, magarisa. Thus is (ends) udghattita. (25) (Anu. 95) Aksiptaka (is formed) with the measure of kalās (time-units) starting with one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the ascending order (in each phrase). As - sarigā nu, rigamā nu, gamapā nu, mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu, (26) pamagā nu, magarī nu, garisā nu. Thus is (ends) ākṣiptaka. (Anu. 96) Leaving the immediate (svara) after the first one and going (forward) in two svaras and on account of descent in the same order in the ekakala 69 (one time-unit form) (and) also (the same pattern) in ekakala in descent, thus is the sampradāna in dvikala 70 (with two-unit phrases) that is composed of twenty-two kalās (phrases). As - sagamā marisā, rimapā pagarī, gapadhā dhamagā, madhanī nipamā, panisā sadhapā, dhanisā; sadhapā panisā, nipamā madhani, dhamagā gapadhā, pagarī rimapā, marisā sagamā, garisā. Thus is (ends) sampradāna.71 Or, sagamā magasā, rimapā pamarī, gapadhā dhapagā, madhanī nidhamā, panisā sanipā, dhanisā; sadhapā padhasā, nipamā mapanī, dhamagā gamadhā, pagarī rigapā, marisā sarimā, garisā. Thus is (ends) sampradāna. (27) (Anu. 97) Hasita is on account of 'laughter'72 (or sport) in the dvikala73 (composed of dual units) combination. As - saga mama risa, rima papa gari, gapa dhadha maga, madha nini pama, pani sasa dhapa, dhanisā;74 sadha papa nisa, nipa mama dhani, dhama gaga padha, paga riri mapa, mari sasa gama, garisā. Thus (28) is (ends) hasita. (Anu. 98) Like hasita, through the ascent (and descent) of three svaras, or the ascent (and descent) of four svaras, both ways huṅkāra is ekakala 75 (with one-unit

structural

p.vol_I_p059

english

conf 0.90

[show source]

Ākṣiptaka examples use three svaras with the marker 'nu' separating ascending phrases

"sarigā nu, rigamā nu, gamapā nu, mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu,"

101 TRANSLATION remaining svaras, udghațțita is composed of eighteen kalās (phrases). As - sarimapa pamarisa, rigapadha dhapagari, gamadhani nidhamaga, mapanisu 66 sanipama, padhanisa; sanipama mapanisa, nidhamaga gamadhani, dhapagari rigamadha, pamarisa sarimapa, magarisa. Thus is (ends) udghattita. (25) (Anu. 95) Aksiptaka (is formed) with the measure of kalās (time-units) starting with one-kalā-unit 67 (and extending) upto six-kalā - unit with three svaras in the ascending order (in each phrase). As - sarigā nu, rigamā nu, gamapā nu, mapadhā nu, padhani nu, dhanisā 68 nu, sanidhā nu, nidhapā nu, dhapamā nu, (26) pamagā nu, magarī nu, garisā nu. Thus is (ends) ākṣiptaka. (Anu. 96) Leaving the immediate (svara) after the first one and going (forward) in two svaras and on account of descent in the same order in the ekakala 69 (one time-unit form) (and) also (the same pattern) in ekakala in descent, thus is the sampradāna in dvikala 70 (with two-unit phrases) that is composed of twenty-two kalās (phrases). As - sagamā marisā, rimapā pagarī, gapadhā dhamagā, madhanī nipamā, panisā sadhapā, dhanisā; sadhapā panisā, nipamā madhani, dhamagā gapadhā, pagarī rimapā, marisā sagamā, garisā. Thus is (ends) sampradāna.71 Or, sagamā magasā, rimapā pamarī, gapadhā dhapagā, madhanī nidhamā, panisā sanipā, dhanisā; sadhapā padhasā, nipamā mapanī, dhamagā gamadhā, pagarī rigapā, marisā sarimā, garisā. Thus is (ends) sampradāna. (27) (Anu. 97) Hasita is on account of 'laughter'72 (or sport) in the dvikala73 (composed of dual units) combination. As - saga mama risa, rima papa gari, gapa dhadha maga, madha nini pama, pani sasa dhapa, dhanisā;74 sadha papa nisa, nipa mama dhani, dhama gaga padha, paga riri mapa, mari sasa gama, garisā. Thus (28) is (ends) hasita. (Anu. 98) Like hasita, through the ascent (and descent) of three svaras, or the ascent (and descent) of four svaras, both ways huṅkāra is ekakala 75 (with one-unit

ākṣiptaka technical_term

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